Transcripts
1. Value And Shading Introduction: In this class, we're
going to learn the basics of value and shading
with different materials. We're going to do
a value scale in pencil going from
white to black. We're gonna do a shape
and chiaroscuro where we learn the parts
of the shadow. This will be in pencil. We're going to learn
about direct light and indirect light and how
it hits an object, how to blend with pencil and the different
parts of a shadow, like the highlight
and the cast shadow. Then we're going to
work in colored pencil. We're going to see how to
shade in different materials. Here we're going to do
different value patterns. Again, we're going to
make a value scale. We're going to look
at high key value, low key value, middle key value, tenon prism or high
contrast and chiaroscuro in colored pencil as
opposed to pencil. Then we're going to
start doing still lifes. To prepare for
doing still lifes, we're going to learn a little
bit about composition. We're gonna do for compositional
thumbnail sketches. Then we're going to
do a still life on black paper with
charcoal pencils, white and black and gray
scale chalk pastels, using the black paper as the
dark and adding the lights. Then we're gonna do a
join on gray paper with black and white
charcoal pencils, grayscale, chalk pastel. And we're going to
leave the gray paper as the middle value and add
the darks and the lights. And finally, we're
gonna do a drawing on white paper in colored pencil. I'm using white, black and gray colored pencils
and adding the darks, leaving the white
paper as the light
2. Chiaroscuro In Pencil : Okay, we're gonna start with doing some value and shading. I'm going to start
with chiaroscuro, which is the most
used value pattern. And break here at
the top of my paper, I made a value scale. I numbered it 1-10. I'm using regular
pencils right now and I'm going to go
from light to dark. The first one, I'm going to leave white because we do
have white in our picture. And then number two, I'm using a to H pencil and
I'm going really light. So I wanted to make a really
light gray with a pencil. So these are just regular
pencils, drawing pencils. This is a little bit, this can be a little
bit challenging. To make the gradation. Sometimes you have to darken things or make things lighter. So I'm going to add a little bit of a darker
pencil, which is a B. For number three.
I don't want to go too dark too soon, right? I want to make it gradual. I'm just thinking to myself, Is this too dark? I think it looks okay. I'm kind of making
up and down motions and circular motions
with my pencil. And now I'm going to
use the same pencil and try to go a
little bit darker. This can be a bit
time-consuming. Do I think that's too
dark? I think it's okay. I'm kind of leaving
the top clear. I'm going to use
the same pencil. A, b is kind of in the middle. And I'm gonna go a
little bit darker. I'm maybe maybe
this is too dark. I'm going to try to go
all the way to ten. Maybe. You're going to have
to look to see if you think like the gradations
between values, like maybe this
gradation is too large, then you'll end up with some
of them looking the same. You don't have to do ten, you can do five if you want, but doing ten is very helpful. That may be too dark, I may be going too fast. From light to dark. You can if that happens to, you can erase or lighten up. I mean, not I think this looks
maybe a little too dark. I'm going to use my eraser and try to get some of the
graphite off of there. I'm still using the same pencil. I'll probably change
after this square, which is a middle pencil, a B Okay, Now I'm gonna
go a bit darker. I don't really have,
well, I have a to B, so I'm gonna go to a to-be, which is softer and darker. I am talking about pencils
in the line videos. I'm going to continue with
the to-be right here. And now that looks
too similar to me. So I'm getting a darker
pencil which is a 6 ft. Unfortunately, I don't
have a four B with me, so I'm just using a six B, which is a really soft
dark pencil to darken it. And then I'm going to use
the same pencil right here. And I'm pressing harder, I'm probably going
to do another layer that actually looks okay. So I think the value
scale looks okay. So now I'm gonna go to ten, and I'm still using the six B. That's the darkest
pencil I have right now. Oftentimes, this is a
very dark soft pencil. Oftentimes, in my
pencil drawings, I enhanced with the
colored pencil. So this is just a
black colored pencil. I usually use it for
the darkest darks in my pencil drawings and I
put it over the pencil. You can also do a drawing
in colored pencil, which I'll show you later. Okay. I just like to have
a really dark black. The graphite of the pencil
doesn't get that dark, so I use a colored pencil. Now. I'm just going to draw
a sphere in charis hero, which is using the whole value scale with even blending
from one value to another. It's Italian, it's what
they used for shading. There's other value
patterns which I'll show you an other videos. But the most common
is curious euro. So you're seeing lights,
mediums, and darks. I'm going to make a sphere. I'm drawing the circle. If when you're doing this
you want a perfect circle, you can trace a
circle like a cup. But I'm just going to
freehand it or a compass. Okay? I'm going to shade this
and then show you what the different parts of
shading are called. Little lopsided right here. So I'm just bringing it out. So I'm going to have my
highlight be right here. So the highlight is the
lightest part of the drawing. That means it's white, so we're not I don't
have white pencil, so I want to leave the paper as the white because I'm
working on white paper. And then I'm going to start Going pretty light around here. So you can practice this. You can get a sphere or a ball, but you would want
it to be white to start because it's harder
to see it on a dark. But later on, a dark ball would be a good practice exercise. And, or you can look at a picture or you can
use another object. Just raising this up
a little bit higher. And then since this
is the lightest area, I'm kind of making lines. But one thing that you don't
want to do when you start shading is doing lines
like stripes of value. You want them to blend together and I'll show you
how to do that here. Okay, this is gonna be a
light medium, dark medium. And there's a cast shadow, which is the shadow
that the object is casting on the table. It's usually kinda
any longer needed, like this is a sphere
or a circle in 3D. And so the shadow is like any long gated
circle or an oval, kind of like an oval, right? If you're doing
different shapes, it'll take on that shape
in any elongated form. Okay, so now I'm gonna do might. And this takes awhile. I may speed up the video. I'm not sure yet. This can be a little
bit time-consuming. So I'm using the white pencil
again, I'm using the two H. So it's hard and it doesn't
give you that dark of a line. It actually takes longer
to shade with this because it's so fine or so thin. It's a light pencil and
you can go lighter. This is probably
the lightest I go. So the different
things that we can use for shading are pencils, colored pencils, and charcoal, pencils and charcoal. And we'll see all of
them in this series. And the only thing I don't
like about these fine pencil, so this is a, I'm just going to focus at
one more time to see if it's This is a to H, so it's so
fine that you can kind of, even when you're shading and doing lines and circular
motions with your pencil, as you can kinda see linework
in-between the lines. But it gets easier
when you're using darker pencils because they
just kind of their heart. They're, I'm sorry,
they're softer. So this kind of come
off onto the paper. Anyway. I'm going to come back to that. I'm just so it does look
like a stripe here, right? It looks like a stripe of
light in a circle of y. That's the way I start and
then I tried to blend. Now I'm going to go into my B. So if you can see these
gradations on your objects, so if you can see, well, this is kind of a light and down here is kind of a medium. That's going to be, the first thing that you
need to do is see which is being able to see which
is lighter and darker. And then you can put on bands
or stripes and then you can blend the stripes. This is what, how most
people start and, but sometimes they
leave it like this. Not looks a little weird, right? Because you don't see
stripes on a curved object. You know, you may
bring some of this up, you may erase, you may change. You'll figure that out
when you're drawing. When I draw, I can
draw in layers. It's not just one layer that
brings me the final product. You can do this with a bunch of different shapes like a cone, a cube, a sphere,
and a cylinder. You would want to have them out. You would, hopefully
they would be white. If you don't have them, you can use pictures. But it's better to
use real objects. You can also use
like cups, vases. You don't want see-through
when you're starting, you would want something
or a shiny surface. That would be something
a little bit more complicated and something
you would want to do later. But something with
a matte surface in probably a light
color to start. You can do dark colors later. A simple object would be good. It's better to draw
from real objects. Then too. Draw from pictures. It's harder, but you are learning more because when you're drawing
from a picture, you're translating a 2D
surface to a 2D surface. And then when you're
drawing from like a vase, you're transferring a
three-dimensional surface to a two-dimensional surface. So it looks very stripy now
and I'm going to blend it. But I'm just getting
some value on here. When you're working
with black, white, and gray, there's no
color in the drawing. You're calling that the
different shades of value. And then in color you
would call them colors. So common mistake is
that I'm doing this and blocks waiting grays and those
are the colors I'm using. But no, those are the
values I'm using. Okay, So the lightest down
here is reflected light. I'm going to go into
the cast shadow, which is usually the darkest
part of the drawing. I'm just using the same value
that I used right here. I'm going to darken
some areas in a minute. Sometimes you see reflected light and sometimes you don't. Good. I have right now, I'm just using a piece
of drawing sketch paper. So right now I have my basic
values is this needs work. This doesn't mean this is not blended and you're seeing
a lot of line in here. So it needs another layer. As I said, I draw it in layers. I'm actually going
to bring this up. And I'm gonna go
back to my B pencil. And I'm going to bring this up to if you go too dark somewhere, you can erase it. I'm just right now
before blending, I'm trying to clean up the
you're seeing little bits of white between the lines and I'm trying to clean that
up with the pencil. So it looks more uniform. And then I'm going to
try to blend right here. Good. Okay, I'm going dark on the edge because I
know that it curves, then it kind of
goes back in space. So this part is coming forward. This part is going back, so it is darker on the edges. Like this still
looks like a line. So I'm kind of
blending it by going over it with this value, but I'm pressing lighter
and I'm trying to have it like bleed in the
colors of a rainbow, how they bleed together. Like you're not
seeing a stripe of yellow and a stripe of orange? It's like yellow
bleeding into orange. I don't know another word
except for bleed or fading into and that's what I'm trying to do in the
drawing with the values So I'm using this, the pencil I used here
and I'm pressing lighter. You can use lines or
circular motions. I'm trying to leave some
of the value up here, the lighter value showing
through at parts. And in my emotions, I'm going from this value and I'm getting, I'm lightening. I'm I'm not pressing as hard when I go into
the lighter area. Okay, and now this,
this circle needs work. So I'm gonna get the
lighter pencil that I was using, which is a to H. I'm also going to clean up. I'm doing another
layer here to kind of clean up the white that
showing through the lines. And I mean, that doesn't look that good because
I kind of went, I went in here to try
to to blend this area. I ended up making this area
darker right, than this. So that kind of
doesn't that looks weird because it should be darker here and getting lighter. So I'm gonna kinda try
to darken this area. And you can always work
around your drawing. And I'm going to use my eraser. There were chalk or
charcoal on the eraser. You can also kind of
like clean up with an eraser if you made
something too dark. I don't like this
image right here. I'm trying to get that off. You can blend as well with an eraser that I need
to get that smudge off, but I'm going to move down. So I'm gonna go
back to my Tooby. And I'm going to try to darken this area and as
well as blended. Okay. It's still looks like a stripe, so I need to fix that. I'm going to bring this dark, this darker pencil
around on the edge when I'm trying to blend it into the slider value down here. Okay. This looks too
much like a stripe And I'm going to blend. I just want a little sliver of light showing at the bottom, which is the reflected light. I'm going to label this for you in a minute. Okay. I'm going really dark right under the object on
the cast shadow. And I need to erase that because that dark kind of got
into the light area. I'm trying to blend this. Okay. So we've blended more two. I'm going to try, actually, I'm going to
label some things for you. This is not perfect, but I might work on
it a little bit more. So there's two
categories of light. But when you're looking at
shading Mark Harris, hero, there's direct light where the light is hitting the object and there's indirect light. We're the latest
directly on objects. So I'll miss, since the
highlight is right here, you know that the sun or
whatever light source it is, I'll put a light
bulb right here, is up in this direction. So this is the light source. So if I divide this
diagonally, like right here, this top half is going to be indirect light because the
light source is on it, right? And the bottom half
down here is going to be an indirect
light because light is not exactly hitting it. Okay. And the parts of the shadows, so this part that it's reflecting on the table or whatever surface
it's sitting on, is the cache shadow. Usually the darkest
part of the drawing. This little white
part right here, which is sometimes you see it, sometimes you don't, depending
on the light source. Before I say any
more about this, sometimes there's more
than one light source. So like if you're in a room, like in an art room and they
have set up a still-life and there's two lights on from
different directions. You're going to have to highlight sometimes
there's three lights on, so there'll be
different cast shadows. So they'll be like another
cache shadow over here. If there's also a
light over here, I know I'm getting
on a tangent here, but just to let you
know there's not always only one light source. One light sources. The easiest way
to learn shading. This is reflected light, which you don't always see depending on how
the latest setup. This is the shadow, core shadow, the darkest
part of the shadow. The cast shadow is the
darkest part of the drawing. And this is the white
part is the highlight. And this really light
part is the half tone. Let me try to get this
off one more time. So sometimes you have
problems that you can't fix like that smudge that I
got on there with the eraser. It's still showing. I'm going to get the
black colored pencil. So sometimes I like to
use this in a pencil or graphite drawing to enhance the darkest parts
of the drawing. So I'm just going
right under here, which would be in
the cache shadow. It's just you get a dark or a black that you really
can't get with a pencil. And that's why I
like to have this when I'm just doing
a pencil drawing. I think it can
really help getting the darkness that
you want out of the value scale instead of
just trying to use pencil. Okay? I think I'm
going to stop here. I think you have the basic
idea. It's not perfect. I could be working on this for awhile more with blending and trying to get
the smudge off, but you get the idea. So I'm going to stop
this drawing here.
3. Value Patterns In Colored Pencil: Okay, we're gonna look at
different value patterns. I'm going to use colored
pencils for this. So I started by making a value
scale in colored pencils. So I have, these are the
colored pencil I'm using. I just have five. I have a white, light gray, darker gray, darker gray, and black. I made this by mixing some
of the colored pencils. This is all colored pencil here. So chiaroscuro is not the only value pattern
that artists use. So sometimes let me just focus. Sometimes they use
different value patterns to get different moods or to create different feelings or looks in their artwork. So we're gonna go over all of them here in colored pencil. I made some shapes and I'm
using a photo for reference. So the first one
is high key value. So that's going
from light to dark, but you're just using, you can either use, That's basically the light
part of the value scale. So some people will go 1-5, some people will go 1-4, some people will go 1-3. It has a light airy mood to it. So I'm going to do this fear. In high key value. Mostly you're going to see someone using all
of the value scale, but just sometimes they, artists don't want to. And this can transfer
over into color, which is something that
we'll talk about later. But if you're just using
colors that are of a light value pattern
than still be a high key drawing or painting. So I'm gonna have my highlight
be about right here. I want to leave some
of the paper white. And I'm gonna go with
this light gray. I'm not pressing hard
at first around here. And the colored pencils
are pretty different than the regular pencil,
which is graphite. I'm starting out pressing soft
and I'll press hard later. I'm just getting some
light gray in there. Okay. And then I'm gonna
get a little bit of a darker gray color pencil. I'm going to press
harder. I just want to start out this way, but remember, I'm not gonna go into these values over here. Because this is gonna be
on high key value drawing. Some people do hold drawings
like this, portraits. So I want to keep it light. And people have different
reasons for doing that. Sometimes it's to create a light mood and it can be
for other reasons as well. I'm going to do another layer. Again, this is my first layer. For my cast shadow. I'm gonna go here, so this is kinda the
darkest value I'm using. This may not be perfect, but as long as you
understand the concept, this may be a little
too dark here. I have trouble just doing
it with these three. So I'm usually kind
of going around here, but people do it
in different ways. When it's just the top three, It just seems really,
really light. So again, this is
the cache shadow. So I'm gonna go back to this and I'm going to
press a little bit harder. But remember like I automatically feeling I need to put some black
in here, right? But a medium gray is the black is equivalent to a black and a high
key value drawing. So it goes against
your intuition Okay. You can also use a
white colored pencil. I'll show you that in a minute. So I'm just using
the light gray here. Again, this, this, if I
divide it in half here, this part isn't direct light in this part is indirect light. This is the highlight. So I'm going to use my
white colored pencil. And the white colored
pencil is actually pretty cool because you
can blend it out. If you haven't pressed too hard with the color next to it, you can blend it out. And it won't since I left, like I wasn't
pressing hard and I left some white in-between. I didn't press too hard. The white will go in
there and kinda blend with the gray that
I had put there. So it's pretty cool. The colored pencil is, it's blending much more
easily than the graphite. So now I'm gonna go to this
gray and I want to make this, I see too much white
showing through. Now I'm going to get
my lighter gray as well for this area. And if I want to
lighten it again, I can use white. I'm bringing this
kind of medium to light gray around the
edge as the dark. And then I'm gonna go in here with a darker
colored pencil. It's kind of a medium gray, but it's the dark and this one. And I don't have reflected
light on this shape. I'm going to blend a
little bit more with this lighter gray
where they meet. And then then I'm gonna go into the cast shadow because it's too
light with this, I used a darker gray to
start the cast shadow, so I'm putting this gray
on it and it's going to blend in with the darker gray. So it's going to seem
a little bit darker, which is what I want. I don't want it
to seem too dark. Kinda just left a little white. They're just show
the differentiation which you wouldn't see a white
line there in real life. But and I'm going to leave it like that. So that's a high
key value pattern. And here we're going
to do low key value. So low key value
would be like here, or some people would go here. Or you could choose 12.3, but it's on the darker
side of the value scale. In terms of mood. It has a gloomy Dark mood to it when people
do low key value drawings. Again, the low key can
transfer into color. So I'm going to use probably
these three pencils. Okay? And again, it's kind of when
you first try it, it's, it seems it seems
kind of against your it goes against your intuition because
you're going to want to put a light gray
and white in there, but you want to keep it low key. So it's just a practice. So this is the darkest part, so I just used a
black colored pencil. Now, the surface of a cube is, it's not as blended as the sphere because
the sphere is round, so these are flat surfaces, so the light is hitting it
in a bit of a different way. So this is gonna be the light, the medium, and
the dark surface. Yet there is some
variation on that. So I'm gonna go in
to this surface, I'm going to add black to it, but I'm going to start out
with the darkest gray I have. And I'm going to block that in. And then this is going to be a bit of a
lighter gray surface. So I'm gonna go in
with my middle gray. I'm going to add to this. I only have three
gray colored pencils. I wish I hadn't war. You can also mix in
graphite with this. Like I mix the black
colored pencil into the graphite pencil
work if you want. If you don't have a
grade that you'd like, you can use a graphite. It just has a little bit
of a different look to it. And then I'm going to go here. This is my, I actually, I'm going to darken
these surfaces. Okay? That's the latest circuit. So I'm going to go with my black to this
surface because this is the darkest surface I just want to the gray is under the black because I wanted to let some
of the gray show through. So now I'm going to
go along the edges. Kind of it's dark along the
edges and then it's kind of lighter in the middle and
then darker along the edges. And I I, again, I don't want this to
look like a chunk of of a dark and then
a chunk of gray. I want it to blend, but it's not as much
blending as the sphere. Then I'm going to come back in here
because I'm seeing some white through this gray. I'm going to bring the
gray into the black. Bring some of the gray
into this shadow as well. And I still feel like there's too much white showing through. So I'm coming in
and darkening it. Okay. Now I'm looking at this surface and I'm
using my dark gray, I may add black. It gets light here
on this surface, but Okay, so I'm gonna go to this and I'm just trying to
take out some of that white. Now. I may add some
black to this. I'm just, I'm gonna go
up here with this value. This may still be too light. And come to this edge. Bring this down. Okay. And that's pretty dark. I want it to be darker than usual because
it's low key value. So I'm going to add
some black right here. Remember you can always
darken something, but it's pretty hard
to lighten something. So you wanna go later at first and then darken
in any kind of drawing. It's really hard to lighten something that you've
already darkened. Do I want block up here? I'm just talking
to myself thinking maybe I'm not pressing too hard. I'm going to get my darker
gray and come on in here. This is probably too light
for a low key value, so I am putting in a dark here. Okay? And I'm gonna leave it at that. It's not perfect, but as
long as you understand the concept that's
low key value. Now, this one is
middle key value. So middle key value would
be working in the middle. Some people will just
do these, 356.7. Some people will
go three to eight. You could also do three. I'm sorry. Yeah, three j. You could also do like 35.7, but in the middle, so you're taking out the real lights and the
really dark values. Okay. I'm just using a pencil for
a second because I feel like I need to just curve
this edge a little bit. Okay? So here's my cone. And I'm gonna do it
in middle key value. I'm just using a picture of
some objects and the cone. So I want to use like
kinda two middle value. So I have these 2 gy and I'm thinking do at
which to do I want to use? I could probably use
all three actually. But I don't want to
go into the blacks or the whites are the
really dark grays are the really light grays. So for the dark side of this, I'm just going to put in
stripes for right now. So this is my darkest
gray and then I'll blend. Then I'm going to go to my
middle gray right here. I'm not pressing hard yet, but I will press
harder in a minute. I'm just trying to block
it in layer one and light. Okay. I'm on a block in my shadow
with the darkest gray. And remember, I might try to
use some graphite in this. You can use graphite as
well if you don't have a gray that you
feel like you need Okay, now, I need to just
define this a little bit more. So I'm going to the light side, I'm pressing a
little bit harder. There's a little bit of a
highlight, like right here. So I'm gonna use the white. I know I'm not supposed
to be using white, but its weight on
top of gray. Okay. I'm just making
this darker so it's not the paper is not
showing through. Some people like the paper showing through as a
personal preference. And then I'm going
to go to the middle. And the dark gray over here. And in the cast shadow. Now I'm going to get my pencil, which I just wanted a darker
gray but not really like. This may be too dark
for a middle key value, but I just wanted to find it's a little bit of a
different grades and the grays with the colored
pencil, but that's okay. You can combine as well. I just wanted to
let you know that. So darkening this area. I'm trying not to
press hard right here. It's kind of an outline. But it's not going like I didn't want to use the
black colored pencil, I wanted to use something else, so I just used a regular
pencil, which is, you're never gonna get a
black with a regular pencil. You're gonna get like a dark, dark, dark, you can get
a really dark gray. And then I'm gonna put some
of it into the cache shadow. And I'm gonna bring this into here because these two graphs
are kinda similar. And that's not perfect. Again, but at least
you understand the concept that's
middle key value. Ten of resumes, which
is high contrast, meaning that you're using
like 12.3 and 89.10. So you're using the light
lights and the dark dark. So it's like taking
everything out from what you used in
the middle key value. A drawing in high contrast
will seem dramatic. So that's what
people use it for. Again, it can be used in color. So I'm going to get the dark gray and the black
for the bottom part, and the light gray
for the top part. So it seems dramatic
like when someone does a portrait and
with tenon prism, you can really see the person's
emotions in the portrait. So I'm going to start by just
doing gray on this area. And then I'm gonna
come in with black. It was kind of getting
it a little bit darker. This paper is it
has ridges on it So you can see it unless
you press really hard. It's hard to get rid
of the white area. There's some paper
that's totally smooth. This paper is called rough. I'll do another video
going over papers. But this is a rough paper. You can add more
stuff on rough paper, charcoal pencil, colored pencil. Charcoal pencils. So it's just built to
hold more to layer more. And that's why I usually
use rough paper. So I'm bringing down
the dark areas. I'm gonna come back to them. I'm going to put in the dark
gray for the cast shadow. And then I'm using
some black in here. Again, this is the darkest
part of the drawing. Usually, whoops. I'm leaving a little light here because it's black right here. And then on the top, I'm
using my light gray. So I'm trying to skip the
middle values in this. You'll probably be
often sharpening your pencil while
you're doing this. So I'm using white right here. I'm going darker right here. Okay. And let me go back to my dark gray and kinda this
pencil needs to be sharpened. Try to get some of that
white out of there. Okay. So I don't want to make
this video too long, so I'm not perfecting it like
so much that I have that I would usually do and spend
lots of time on each part. So you can spend more
time on them if you want. I just want you to get the
idea and hopefully practice. And again, we saw
this in pencil, but I wanted to do when
in colored pencil. So this sphere is going
to be in chiaroscuro, which is the normal
way people are, the normal value pattern
that people are using, which is going
1-10 and blending. So I'm going for
the light gray now. I'm doing this sphere and
I'm copying it right here. May turn out different, but this one doesn't
have the darks. So basically I'm doing
this with the darks And you should definitely
practice all the value patterns and especially just see
if you can pull them off, but also to see what you
like and don't like. In a drawing by d, like a high key value drawing. Do you like a low
key value drawing? Do you like a tenon
prism drawing? Do you like a middle
key value drawing? I'm just getting the
dark area down here. I'm pressing lighter right here because I know
I'm going to blend. And I'm coming up here. I'm gonna make the
highlight about right here. With a light gray. This is just the first layer. I'm not using reflected
light in this object. Again, sometimes you see reflected light and
sometimes you don't. I'm putting this dark
gray and the cast shadow. This seems more natural to me. And it is natural than any
of the other value patterns, probably because it's
what I use the most. Okay. So let's see. I'm gonna get my black for
the bottom of this shape. The dark. It's also something, I mean, doing this will help you. It'll help you with
your drawing skills, but it's also
something you want to be able to recognize
this when you look at a painting
or a drawing like what value pattern are they using it harder to see
when there's color. So like a landscape is that landscape that's mostly
green, purple, and gray. Is that a middle key landscape? It's something you should
start to look at and look for when you're
looking at art work. And later on, I mean, first is identifying it. And then after that, you can try to think about
why did the artists use that value pattern
or value scheme, whatever you wanna call it. And that would be a good
exercise to look at a bunch of color paintings and see if they're using the
whole value spectrum. The middle, just the, the, the lows and the highs, which is ten of prism. The high or too low. That would really improve the
way that you look at stuff. And again, it's a little, it's an exercise you're
going to have to do when you look at color paintings. Okay? Now, I'm kind of using this light gray but impressing little bit
harder on the edge. So also it's important that
you try out the pencils and the colored pencils
and you see which ones you like using more. And you also see what you like more in the look of
the finished product. I actually wanted to do. I'm gonna get the white in here. You can blend the
white into the gray. I liked the one that you have, the white colored pencil. That's one thing I
really liked about it. That you don't have
with regular pencils. Again, you can mix colored
pencils and graphite. I'm using the lightest gray
now and I'm trying to blend. Since there's I brought
the weight out here, it's kinda just blending
automatically into the white. And I'm gonna get
the gradients middle and try to blend this area. So being able to do them, but also being able to recognize them is very important
to your drawing skills. And I'm going to stop it
there, That's good enough. So again, I'm just going to Caesar value patterns
and colored pencils. This is high key value. This part, low key
value, this part, middle key value, this part, ten of rows m, which is
this part and this part. And chiaroscuro, which
is most commonly used, which is all of them
evenly, evenly blended. Sorry
4. Compositional Thumbnail Sketches to start a drawing: Okay, Here I'm gonna do
compositional thumbnail sketches. So when you do a drawing, if you're using a nice piece of paper or a blank piece of paper, you want to do some of these
before you do your drawing. It can be for still-life
or figure or fantasy. So I have my still life setup that I'm doing on
the black paper. I should have done this before, but I'm doing it after. And so I wanted to set up some different
compositions and then I would pick one to draw. So in this, you can
set up your objects. You can also move
around your objects. So I'm just thinking about how I want to place
them on the paper. So I'm gonna do one where
these are just practice ideas. They should take you no more
than a few minutes each. I usually do for but
you can do more if you want and you can do
as many as you want. And it helps you before you mess up a nice piece of paper. Okay? I'm making the objects
bigger here so you can play with how many objects do
you want on the paper? Do you want the objects bigger? Do you want the objects smaller? Making them bake here to you up the whole page and this one's
going to come off the page. You can also move
them if you want. Like if you're not sure how
you want to set them up. And that's kind of
one composition where they're pretty big. I'm also going to do
the one that I did, which is you don't have to
put any detail on this. You're just seeing, Do you
like the negative space? Do you like the way
they're set up? So this is what I'm shading
in the negative space. It's a space around the objects. People don't usually
pay attention to it. But it's just as important
as the positive space, which is the space that
the objects are taking up. So the black is the
negative space. The white is the positive space. You want to have your
negative space interesting, like something artists want to think about before they
start their drawing. Okay, now I'm gonna do
the one that I did here. So I have the bottle right here. This can be very sketchy. You don't need to
have detail here. Yeah, and then I have the table at a diagonal, so that's the one I chose. So once you do these, you choose one or you make
it into your drawing. What else can I do? I can. I mean, these are almost my
drawing is more like this. There's a little more
space right here. You can have things touching the bottom, touching the top. If things are touching edges, that's breaking up
the negative space. So say here I want this
cap touching the edge. And some of these are
not going to work out, but you're going to see what
looks good and what doesn't. This has negative
space right here, right here, right
here, and right here. You just want to see
what you'd like. I still like this one the best. This is kind of
right in the middle and that's why the
diagonal line helps. So Like would it look
different if I put that, I did it small but I had
it touching this side. Right. That makes any sense. So if I put this
charging this side and the silver here, then there's a lot
of space over here. And you can make a straight line for a table or a diagonal line. But how do you feel about
it hitting this side? I mean, this is pretty much
personal preference, right? But you wanted to see what
looks good and what looks, what doesn't look
so good and how you want to structure your drawing. I'm going to stop
here. You should do this anytime before
you make a drawing. That should be a drawing
habit that you get in
5. Blocking in a Still Life Drawing on Black Paper: Here I'm going to do a value
drawing on black paper. I'm starting out with a
white charcoal pencil. I'm using the skills that I learned in the previous videos. I'm using chiaroscuro. I tried to use the
whole value scale. And I have a few objects
setup that are simple. And I'm going to draw an
attempt to put in the shading. When you're working
on black paper. You're adding the lights instead of adding the darks that you are doing
on white paper. So it's a little bit different. You want to leave
the black paper as much as you can for the dark. And I'm going to start with
my white charcoal pencil. You can start with a
white colored pencil. But the white colored pencil, if you use chalk over it, it it all like make
it shows through. So that's why I like to start with a white charcoal pencil. You can also do this
in colored pencil. I just wanted to show you
how to use the chalk. It's a little bit challenging, but I'm gonna do a drawing
in this and I'm going to do a couple of objects
that are very simple because I want to
focus on the shading. So I have, I'm just kind of figuring out how big I want
my objects to be. On this page where they're going to fit in. Okay? That's like my tallest object. And about here I have some
objects in front of it. I want to get the drawing down first before I put
in any shading, just so it's like I may have to move things
around to get it correct. The proportions correct. So I'm just this is this is just the initial sketch
and I just want to get everything in
the right place where I want to draw it. You can do compositional
sketches that I will do. Before that I will
put in another video. You can do like four or 56 compositional
thumbnail sketches to figure out where you want your objects to be on the page. I'll do another video on that. This is not so this is off
because it's not, it's, it's actually wider and higher. So you might have to move things around you when you're doing
a couple objects together. I mean, especially when
you're just starting, your gonna be doing
a lot of erasing. You want to get things
in the right place. Just making this fatter and
I'm changing the shape a bit. And I don't want to put
on any shading until I'm sure about how
this drawing looks. Okay, so now I have another
object like over here. So these objects
are overlapping. So one thing that shows
depth is perspective. Another thing that
shows depth in shallow space is shading
and also overlapping. These are very simple objects. It's a top of a spray bottle. Just trying to get
it the right size. This oval at the right angle Still in the sketch form. There's another kind of open. It's trying to get this
in the right place. So one thing that
you could do to challenge yourself
is to do one object. You could do three objects. One in black, one in white, on white and gray, and not what have you doing
different kinds of shading. Looking at the shading
on a black object, a shading on a white object, and the shading on a
gray object and how that shading relates
to each other. I'm just sketching it in. I'm just concentrating
a lot right now on getting it right. The composition, I'll do
another video on composition. It's in the center of the paper. And there's gonna be
a line for a table. This is coming right
here in front of this. Although I may put it behind. It's actually touching. Just kinda get I'm
doing one more layer, just that's kind of I
was getting everything, sketching everything
on the page. And now I'm gonna do
another layer just to make sure it looks okay. I'm going slower now
trying to get the details. Correct. That was kind
of a clumsy sketch to get everything
in the right place. This is a bottle. Okay. Now I'm just seeing what
did I do wrong here? And I'm going to see this
is how much erasing you do. I'm going to erase this up
and make the bottle taller. It's tolerant relation to the
things that are below it. So this is the top.
I'm just raising this up so the bottle
could be higher. Oh, this is too high of a curve. I'm low, it has to
match this curve. So I'm lowering that
curve even more. And I'm going to erase. All right. Now I'm gonna take a look at all my objects and just kinda do the same thing I just did. So I'm looking at this. I'm drawing the curve on the bottom of this. So like if you're
doing a cylinder, which this is kind of a cylinder top of
a spray paint can. It's it's gonna be
parallel to this curve. So I'm just checking
if it's parallel. Okay? No, I have to take a
look at this object. And I'm just correcting anything that I see
that's a little off. Kind of getting my sketch a
little bit more solidified. Putting in lines
that I didn't put in because they weren't kind
of part of the main thing. After I get this sketch, Johnson's I'm trying not to
make the videos too long. I'll probably stop it and then do another video of
just the shading. I'm trying to make
this symmetrical, so imitating this shape over here. There we go. That doesn't look quite so much. I mean, little
mistakes I can also fix in when I'm
doing my shading. I just wanted to get this
kind of in the right place. And I'm gonna move this over because these two and the way that I'm looking
at them or touching, I should have a
picture of it for you, but I'm still learning
how to do video, so I haven't learned
how to do that yet. Okay. All right. I'm going to stop here
and then we'll come back and do another one, shading
6. Shading a Still Life on Black Paper: Okay, I have some
great chalk out, as well as a black and a
white charcoal pencil. So I'm looking at my still-life and I'm
going to start with this, which has quite a
bit of white in it. This is a very light gray. So I'm actually going to use the charcoal pencil
for certain areas. I'm going to come in here. The light gray. I'll probably cover
most of it in light gray and add the white
as the highlight. I have. You can use a blender. I brought this to show you, but this is too big for this, so you can get smaller ones. It's called the blender. This one's also dirty, but I have some Q-tips. So I also use Q-tips
to blend or my finger. And you can also
use a paintbrush. That looks a little weird. There. You can't see it on the camera, but it had a little
bit of red on it. So I'm just going to
block this in my grade. I'm just getting some on there. And that needs to be blinded. Obviously, the charcoal
or chalk pastel, Ms. a little bit
harder to work with. It's messier, but you can get
some really nice results. I actually really like it. It's faster to, you can cover
a surface very quickly, but it can get messy. And that's why some
people don't care for it. I'm going to get the
charcoal pencil. So you do the details with
the charcoal pencils. So it's, is lighter
around this edge. And if this really bothers you, you can try to do one in
colored pencil on black paper. It's a little bit harder to control than a pencil
or a colored pencil. It's loose. And you
can probably see that. So not all my objects are white. This object is white. Okay. Now I'm trying just to put
in the light areas first. So this is going to
have some darks in it. So I'm kinda leaving
that alone for a second until I figure out how
I'm going to well, I actually can do this. I don't have gray
charcoal pencils. I wish I did, but I don't. I just have white
and black which you can work with and
just mix the two. E.g. you can try to let I'm trying to
make this little area darker so you can
try to let some of the paper show through. Right? But if it's not working, you can come in with a black and I'm not really
pressing that hard. And I'm trying to make a gray here because I don't
want to use one of these big pieces because
this area is too small. So that's why I'm
using the pencils. Okay, I'm going to work here with the pencils. Again, this is a little bit harder than the regular
pencil or colored pencils. You're going to have to
practice and get used to it. So I'm putting a little
bit of a dark in here because this is actually
darker right here, because it's kind of under
the top of this bottle. Then I'm going to move to this, which is a bit lighter
because it's sticking out. So again, when you're looking at shading as a general rule, but it's not always the case depending on the
light source and other things. Things that are sticking
out or coming forward in space are lighter or highlights. And things that are
going back in space, or have something covering
them are in shadow, or things that are
coming forward in space are another way to say
our indirect light. Things that are going back in
space or in indirect light. But that's not always true
depending where the light is. So, but just to kind
of general idea. So this model kind of it
sticks out right here. So it has an area that's
quite a bit lighter. Kind of looks like I mean, I'm it's like the shoulder of a person that's
coming out in space. I'm just making a line
for where it's lighter. So this is kind of varied, but this is not perfect, but hopefully it gives you a good idea of
how to get started. Again. You could spend many hours
doing something like this. I'm doing it in the quickest possible way to kinda do a
demonstration for you. This I just, I mean, this is kind of where the bottle it's in right here and it comes
out and then it goes down. This line is not like a straight
line, It's kinda blurry. This highlight, excuse me, it doesn't form a straight line, It's kind of blurry. So this was a light gray and
this is now a white pencil. So you're kind of
seeing the difference, but it's very, very slight. Okay. It's a little bit
darker over here, but it's not, not a lot. It's very slight again. Okay, I'm gonna
come back to that. That's my first layer. Okay, so I got pretty kind
of something on there that You know, kind of looks like a, probably needs a little
bit of variation. Now, I have a gray object to copper objects
and blue objects. So blue is like middle. So the gray object. Let's go over here. So this is, this is a
white object right here. This is a gray object. So it's interesting to
look at the values like here's a white object and
here's a great object. How does the shading show up differently on different values? So again, I'm just blocking in just seeing what
this one looks like because that was how
it looks the same. So I'm gonna go
later in this part. This is just my first
layer it will have. Now I'm getting doesn't
look quite right, but I'm gonna get the Q-tip and do or I can use my finger. When you use your finger, you need to wash
your hands often. Okay. So now I'm going to I'm looking at the edges of this object and they're darker. So instead of using the
white charcoal pencil, I'm using the black charcoal
pencil for the edges and four for certain edges
for right now. It has a rim. So I'm kinda drawing
in that room. So I wanted to blend
into the grave. Okay. Just again, I'm doing it around, going around and
doing layer after layer because I
don't want to do, don't recall seeing at one time. Alright, so this line here, the top of this room
is gonna be late. And here is going to
be white as well. It looks a little lopsided. I'm trying to move this over
to make it more symmetrical. And I'm going to have
the white come in here. I'm going to bring this
down because I don't want that open space that it
needs a little adjusting, but I don't want that black
paper showing right there. Just blending that
in a little bit. Okay. Now, the room is
over here as well. Whoops, that one
a little too low. Okay, Now I'm thinking about it or I'm looking and I'm perceiving that it's a
little bit darker over here. And are there, Let's see. It's also kinda darker in
here at certain areas. So many use the black. At the bottom. It's a little bit darker
that maybe a little too dark and go into it up. And then there's a kind of
a highlight right here. So I'm going to shade with that and blend. Now let's, there's kind of
some, a little bit later. I'm not pressing hard
because it's very subtle, It's not very bright.
I'm going to press here. Okay. I mean,
that's not perfect, but just for what we're doing, I think it's an
okay demonstration. Let me get the arrow. And
then I'm going to erase this. And then I'm going
to like, I don't, they're just
floating in the air, so I'm going to want
to situate them on a table or somewhere in space. I'm just taking a look at this and I'm going to
use this gray to block in. This is like a
brownish color value, but its a value. So you have to, if you're using colored objects, because I knew probably
everyone doesn't have black and white objects. You have to kind of
translate that into what grade it would be, right? And we're gonna actually there's so like this is kind
of a brown, a yellow brown. So I'm saying that it's
kind of a medium gray. And I'm actually going to do a lesson on not in color on how you would find
the exact value, but not for right now. I'm just blocking it in. Okay. That's my basic I blow on it so that'll get some of that excess powder off of the picture and it kinda
spread over there, but, uh, well, I would
clean that up later. There's also a fixative
spray that you can use with this case. So I'm starting with my
dark charcoal pencil. I'm going around the
edge, coming up. And I'm gonna go
dark right here. And right here. You'll see how messy this
is an if you want to work, I mean, I would try it. And if you really
can't stand out, you can use the colored pencils. But you can get a
smooth blend with it, but you really can't
get with anything else. So there are some
shadows on here. Yeah, and I'm gonna go around
the top with the dark. So this top is a circle, but it's in perspective, so it looks like an oval. There's some shading on
this small part two. I'm mostly using my fingers
right now for shading. Little bit darker right here. This It's coming down and then it's this is she putting a
shadow on this bottom part? I mean, I'm I'm trying to do as much as I can,
as fast as I can. Then I have a blue
cap right here that's a little bit
lighter than this. So I'm going to use
this gray again and then light. Again. You can spread your you can get your fingerprints
everywhere, so just be careful. And you could also put a scrap paper under
your hand and put your hand on it if
your fingerprints are getting everywhere. Trying to block
this, Say it again. What people work
in different ways. I usually blocked in
areas of value to start. Okay. Then if there's areas that
are lighter like this, this is kind of it's
not my gut straight. It's a curved top it like
curves from here to here. It's not a straight break, so there's kind of a
highlight right here. Little bit. No, that's too late. I'm just trying to see
what different grids I have to use. The black. A black
or a dark gray? A little bit darker right here. A little bit darker in here. Okay. I mean, that's not perfect, but I don't want to make this video really
long, long, long. So I'm not finished though. Like I don't do I like them sitting in the middle of
space like that. Not really. I want to make a table and
it's not gonna be the table, whoops, that they're on. So so I would erase all that
powder and there's also a fixative
spray you can use, but I don't have any
with me to show you and you spray it on
and it helps it stay. It doesn't make it unmovable. Okay. So where do I want
the line of my table? Do I want it straight? Or do I want it diagonal? Think I wanna wanna go like
you'd be a little lower. There we go. I like that line. So I'm going to erase the
line above it. I'm going to leave
the top black. Table anchors, the table
anchors the objects in space, but also makes them. This is messy right here. There's a lot of kind of clean-up work that
you're going out to do also makes them it
anchors them in space, but it also gives you a place to put the cast shadow
is on, right? You don't want I mean, it depends on maybe you do want your objects
floating in there. I was going to say
you don't want them floating through the air. So I want the
background to be black because this is really
light and it'll stand out. I'm just making kind of a, I want the table to be dark as well because
I want the objects to stand out against
the background. So I'm, I'm kind of mixing
a gray with the black here. I'm wetting the paper
showed through. May not be gotten
maybe two darks because I wanted to excuse me. I want to put a few cast shadows on here, but you know what, there's not that many, so okay. So let me There's
definitely one right here. But there's not,
the light source is weird on these objects. So there's not really, I'm not seeing all that many shadows can blur into the background. They don't have to
be straight lines. And this does have one. Okay. And I'm going to
put one right here. I'm kind of sometimes
artists take liberties, so I don't really see this one because of
where at the latest, but I'm gonna put
it here anyway. Yeah. And just flag right under
there to enhance K. Now, I don't like, I'm gonna wait, I'm
gonna kinda try to make this line more formed. The light one down. Okay. So I'm going to
use a Q-tip here. Doesn't look so great. And blends it down. I mean, that could use
another hour or 2 h of work. But I mean, as long as you
understand the concept now, I'm gonna put a little bit more. First of all, coming off. You could really spend a lot
of time perfecting this, but I think you
have the idea now. So I am going to
stop the video here.
7. Value Still Life Drawing on Gray Paper: I drew these objects
out first and now I'm going to
do an example of shading on a gray paper
where you're adding lights and darks and leaving
the middle value showing. So I think I'm going to
start with this object. I did the drawing in pencil. And now I'm using the same materials I was
using in the last one. I'm going to start
with charcoal pencils. I'm just doing the rim on this. I'm actually probably
going to start with this. It just seems easier
to go that way. So I'm going around the edge. This edge here is dark. And I'm moving the
jargon to the gray. Again, this is
gonna be in layers. I'm gonna get kind of
be a little darker. Well, I'm gonna go
back into this that, that looks too much like
to try this. There we go. That looks good. And is so if this is
darker than the paper, I do want to leave some
of the paper showing, but I'm going to
pull this into the black and let some
of the black show. And then I'm going to get
the black charcoal pencil and just make that a little bit more dark. This is a piece of textured paper that
holds chunk very well, so you can pile a
lot of chalk on it. The paper that I used for
the black was smooth. But you can really
pile a lot of chalk, but sometimes you see the little ridges they show through. If you don't have a lot of
chocolate on it. Alright. I drew it first because I didn't want to make the video too long. So I'm gonna get my white. Actually let me just try to
erase this pencil right here. And I'm going to go
right underneath here. So I'm trying to
leave this gray, this light gray
showing for the paper. Okay. We need to blend that more, but that's a start. And then see if
you're using a Q-tip. Like I don't want to
use that to blend away because it already
has gray on it. So I want something clean
or get another one. Okay. Then I'm going to go here to this room and hear I'm going to go down, so
it's pretty dark right here and then it gets
a light at the bottom. Then I'm going to
use my white here. Mr. want to leave some of
the paper showing otherwise, why use the colored
piece of paper? Remember, you can erase as well. That needs a little
bit more blending, but I'm going to leave it
like that for right now. And I'm going to come to
the top rim with a white. And I'm gonna look
down here as well. I'm going to the bottom with a white pencil is I mean, I don't know. You can see the pencil is
kind of getting in the way. So maybe I should have used
a white charcoal pencil, but I thought the
pencil would be fine. And then there's a
cast shadow right here from the top
part of the object. So not only are objects
casting shadows on the table, but sometimes they're casting shadows on other parts
of the same object or different objects. Okay. I'm gonna leave that for now. Okay? I'm gonna take a look
at this object over here. But I need to finish the rim. I'm looking at already worked
on the composition before the video and I got it
in the place that I wanted with the objects in
relation to each other. But I want to look at
how the objects are making each other stand
out in terms of lading. Che. Okay, so now this
object is darker, so I'm going to
start it out with this gray the rim. Okay. Then I'm gonna get my
black charcoal pencil. And I'm going to go
dark right here. And then I'm going
to go dark around. I mean, it does get
darker over here as well. Sometimes artists take liberties because they'll want
something just stand out, but it is actually
darker right here. So I wanna go dark right
next to this edge, to this object pops out. Okay? Now done, putting
that dark there brings us forward
and popping out. It emphasizes the lights. The lights in this object
will stand out more Now I'm gonna go into this. This is the same color as this. They're just two stacked
on top of each other, except this one is at
an angle to the side. This part is lighter, so I'm going to leave this
the value of the paper. Yeah, I'm gonna go in here. Getting a base
value down on this. Yeah, I'm rubbing it
in with my finger. Okay. All right. I'm going dark on certain
areas of this curve. It's going to be dark in here. Now I'm going to
outline this rim. This needs to be
outlined right here. And on this room over here. Again, I'm getting some
fingerprints on it. You can erase those later or put a piece of scrap
paper under your hand. Looks weird. Okay. All right. Now I'm going to
take a look at this. And I want this to be a
lighter value than this. I know I just kinda, I
need to do more on here, but let me just look
at this for a second. There's a cache shadow right
here from this object. So it's casting a shadow
on an object next to it. Something you need to look for. Now. It is dark on this edge When you use gray here, but then let it go
into a lighter value, which is the paper. So starting to look
a little bit better. And then I'm going to get
the black charcoal pencil and just enhance
this darker I need. I'm going to vote black right on the edge of this shape. I'm going to get my weight. Edges kind of lighter. So I'm going to use the white. Again, this is a curved edge. Loops, too much
black on my finger. So you may find yourself
having to wash your hands often when you're doing this. I'm kinda putting a highlight
right here and right here. Okay, so now we're going here to this edge, making it white. And it's kinda blending
into the gray above it. Here's some white here. I'm kind of I wanted to finish, so I'm kind of hurrying up. Some white here. Hi, write some green here. Maybe some gray right here. Dark right here, but it's
not like a defined line. It's more. Okay. Here's my line for the table. And I'm gonna make a table. I'm going to use this. I don't want this to
be the same colors. So I'm gonna go gray, a little bit darker
with this table. Okay, so now I need to look at, I mean, this is not done again, I could spend a couple
of more hours on it, but I need to look for
some cast shadows. So I'm going to have this
coming in like this. Again, the line for the
cast shadow is not. It's kinda some sometimes it's really defined and
sometimes it is blurry. Yeah. I'm kind of making these up because I'm not really
seeing them on my table, but I wanted to put
them in the drawing. Then I could work on that more. But I think you've seen
enough to get the idea. That looks needs to
be more blended. Okay. I'm going to stop here
8. Value Still Life Drawing on White Paper with Colored Pencil: Okay, so now I'm
gonna do a shading on white paper, colored pencils. I already drew the objects out. Anyway, the objects
bigger on this one and you can get more detail
with the colored pencil. So I just decided to do
one and we haven't done one on white paper except
for the practice ones. So again, I'm going to
start with this object. I'm just kind of washing
it with a light gray. I may leave some areas white. Kind of outlining in
an area that I want to leave white because
there's a highlight. So again, when you're, when you're using
the white paper, you're using the paper again, but you're leaving it. The highlights white and
you're adding the dark secret, leaving the paper
as the highlight. If you can. Hopefully you'll see what you, and you can also do this in graphite, which I
might do later, but you can see what material you like to work with the most. And this will take
longer than the chalk. But you'll get a
different result. I'm just lowering this a little. I'm making just
kind of a mark for where I want to
leave this white. And then I'm gonna come
in here with the gray. I'm still not
pressing, not hard. I'm just getting basic areas
of value in before I refine. All right, that's a
start for that object. And I need to look at
this bottom scene. I'm going to come in
with a darker gray. It's pretty dark right here. I'm going to enhance
this with black later. Okay. It's also a
dark on this side. I'm just looking for
areas that are darker among or in the areas that
I did with the light gray. The light gray was
just kind of a start. And I'm trying to blend it in rather than having it look like chunks or shapes
of light and dark. Okay, So this line is
going to be darker. You can get a lot more
detail with these. Obviously. You can get really nice,
crisp, clean lines Okay, that's still not done, but that looks a lot better. I'm going to come back to it
because I need to kinda go, I don't like to work on one
thing and like perfect it, but then there's nothing over
here I like to work around. So let's take a look at this. This is much darker as a whole, but there's a big
highlight right here. Just kind of outlining
the highlight. And there's a highlight
on the top one. Right here. I'm going to come in here
with a darker gray. I'm really not
pressing, not hard yet. I'm going to come over here. Just blocking in areas of value. This is a little bit
darker over here. I'm putting dark here. And also darker on this side. Oh, no. That's not done. Obviously. I'm going to get lighter gray for
the top of this. Again, this is done in layers. Some people do it differently, but I find this way easier to do like layers and layers
of the drawing. Like going from blurry to focus. Just blocking in a
lighter value of gray as the base for this
part of the drawing. And this has some white in it. So I'm going to leave
that alone for right now. I'm gonna go back
to my dark gray. And I'm just looking at the
parts that are darker here. I'm actually going
to sharpen this. This is a textured
piece of paper. Again, I prefer textured. People have different
preferences. But you're going
to run through it. You're going to have to
sharpen your pencils a lot while doing this. Right? Down here, it's dark but gets lighter
as it goes up I need to focus on this, so I'm going to get the
lighter gray again. This needs to be
sharpened as well, and I'm going to leave
it white in the middle. Same thing down here. Okay. Just sharpening it
because it got really DO. I'm gonna go white
in the middle. Then I'm going to go on this. I'm putting in a
light gray for a base for this rim. Okay. Now, I'm gonna come in here and I'm going to press
harder at the bottom. Alright, so I'm gonna get a, let's say for the top a. See how that looks. I'm
going to go for the dark. I'm gonna go a little
darker than that. So I'm gonna get the dark
gray and put in this room and here as well. And I'm going to do
the top as well. And this okay. No, it still
needs a lot more work, but that's kind of a base. Since I have my dark kind of put a dark gray in
this in these cast shadows, which I'm going to
add black to later. I know these cast shadows
probably don't look correct because I'm making
them up because you don't see them on the table, but they should probably
should be over here, but they could be here as well. I'm just getting an a base
value for the cast shadows. Okay. This needs a darker hold on. I'm going to use the medium here Okay, so now I need to refine. I'm just going to try to
do one thing at a time. Now. I'm going to get actually
the black for the edge. It's pretty dark. I'm going to have that
blend into the gray. And the cast shadow is
going to be dark as I want it dark
next to this edge. This edge stands out. Good. Trying to blend. Then I'm gonna come in
here with the white. Go back to the light gray. Doesn't look perfect, but okay, let's see what value this is. So it's really late right
here where the highlight is. And then it gets darker. Let me just sharpen this. Again. I liked the layering of colored pencil. I think it looks really nice. I'm actually leaving whitespace right there because
there's kind of a little highlight on the edge. And over here it's dark on the bottom and light on the top. Okay. So now I'm going to
look at this one, which is really dark over here. So I'm going to use black. Just some things I wanted
to find over here. Okay. Sorry for moving
around like that. Okay. And I'm gonna go in
with the dark gray here. Again, this could take
a couple of hours, but I'm just showing
you a bit of it. And there's a highlight that
I need to erase right here. It's about right here. Well, it's kind of maybe
making it messier, but some of the pink of
the eraser got on here. Let me take a look at this
and darken this cache shadow Now, again, this is going
to be dark at the bottom. Really dark right here. Again, this is chiaroscuro, which is all the values on the value scale with
gray dated shading. And that's all all
the drawings that I did or incurious grow. The black paper, the gray paper, and now the white paper. So you can, I could enhance
this for, actually for hours. But I mean, once
you get the idea, I'm going to take a look
at this a little bit more. I'm going to try to make
this kind of a line. When I come in with a gray
and have it blend into the black metal line right through that I
didn't mean to me. And then a light gray here. Let me try to erase that. And I'm just taking
a look at this. I loved more area white
then I really should have. So I'm just kind of
working with that now. Many get my dark. It's my blank. So this is casting a shadow on this bottom part
and I could go on, but I think that's
kind of enough. Curve looks a
little weird to me, but you get the idea, so I'm going to stop here
9. Value Drawing Outro - Projects: Okay, So this is the
outro for the class. So in this class, we're
going to do this to start, which is how we have
done this to start. I'm just focusing, give me 1 s. So we have done this to start, which is learning the
parts of the shadow in pencil and doing
a simple object, then we're going to
use colored pencils. So we're experimenting with
different media or mediums. And in this one we're going to learn different value patterns. High p-value, which is up here. Low p-value down here, middle key value down here. Chiaroscuro, which is all of it. And ten numbers m, which is here and here, skipping the middle. This is something you
might want to use in your drawings to create
moods in your drawings. And we're also experimenting
with the difference between pencil and colored pencil and
seeing which ones you like, which ones do you work best in. Then? These are the compositional
thumbnail sketches. We're going to end up doing three still-life drawings
for the projects. I recommend keeping
the objects simple. If you're just starting. If you're not just starting, then you can go ahead and do more complex objects and
you're going to set them up and draw four little
thumbnail sketches, which should only take
you a couple of minutes. And you're going to
figure out which is the best composition. You want to set your
still-life up in. Then for the project, the project is going to be
three still life drawings. So we're gonna do one
on black paper using white charcoal pencil
to start and gray and white charcoal pencil leaving the black paper as
the dark value. It's a little different
than how people usually work on white paper
when they're adding the dark. So just a little bit of
a different exercise, but still looking at value, highlight cast shadow, core, shadow, shadows that objects
are casting on each other. So this is one part of
the project to drawing of objects on black paper
that we're gonna do, one on gray paper with chalk. Again, chalk pastel. You can start it in pencil or black or white
charcoal pencil. We're leaving the gray
paper as the middle value. And we're adding the
lights and the darks. And then the last one is gonna
be like what we practiced, which is going to be on white
paper with colored pencil, adding the middle
and the dark values, leaving the white
paper as the light. So again, your project is
only these three drawings. The drawing on black paper. They can be the
same or different depending on what you
feel like you want to do. So the black paper, the gray paper, and the white
paper, that's your project. And if you want, you can upload the practice
sketches, which are, are the value patterns, the chiaroscuro and pencil, and the compositional sketches, but that is not required
Katie McGuire
